[CAUT] More Thoughts on Pedaling

[Fred Sturm]

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On 3/23/05 10:22 PM, "Jeff Olson" <jlolson@cal.net> wrote:

> In other words, why the bias to an artificially induced softness as oppos=
ed to
> an artificially induced loudness? If one is deemed desirable, why not the
> other?
>=20
> Imagine instead of shifting the action to strike one string (as it did
> originally), the default was one string, and the shift caused two strings=
 to
> be struck. Is there any reason, other than subjective preference, for one=
 to
> exist and not the other? For that matter, if a mechanically induced softn=
ess
> is desirable, why not employ a "mute" pedal (one that places a strip of f=
elt
> between hammers and strings)? Surely that would dramatically alter the ti=
mbre
> (harmonic series emphasis), and thus be a good thing?

Hi Jeff,
    I realize your post is, for the most part, thoroughly tongue in cheek,
but want to take the opportunity to point out that there were many, many
inventive folks who came up with various =B3effects=B2 pedals, especially in th=
e
late 18th and early 19th century. The =B3moderator=B2 pedal (felt between
hammers and strings) was very common =AD almost invariably present in upright=
s
and squares, and often in grands, for quite some time =AD without the
mechanical =B3catch=B2 we now see on uprights allowing it to be used as a
=B3practice=B2 or =B3apartment=B2 stop. IOW, it was intended as an =B3artistic=B2 pedal=
,
not one to be used to avoid annoying the rest of the families and the
neighbors. On the loud side of the spectrum, there was the =B3Bassoon=B2 pedal =
=AD
a strip of parchment rested lightly on the strings =AD and in some cases an
early version of =B3honky-tonk=B2 (hard leather strips instead of metal tabs).
Along with tambourines and a bass drumstick against the soundboard and much
more. There=B9s a great video done by Badura-Skoda, available from U Indiana
Press, which has performance samples of some of these.
    While CPE Bach didn=B9t have an una corda to use, he did perform his solo
stuff mostly on a clavichord, where he had the possibility of =B3bebung=B2
(vibrato, created by varying pressure on the key and hence the hammer). So
maybe Wim=B9s prof was trying to emulate that effect by varying pressure on
the pedal <g>.
    But the bottom line on an effectively voiced una corda is that one is
creating an additional range of timbral possibilities, in addition to what
one has put into the hammers in their tre corde position by voicing.
Additional range of volume as well, especially for fast and furious playing
where it becomes difficult to achieve an even pp (but that is often called
for).=20
    As for half-pedal and any amount of intermediate pedal voicing, it=B9s no=
t
just to satisfy the needs of those obsessive pedalists like Wim=B9s prof.
Anyone using una corda will need a reasonably even voicing gradient through
the range of the pedal play for transitional passages, where there are long
and gradual crescendi and decrescendi. If you have the pedal fully depresse=
d
for your pp, and need to move gradually to mf, f and ff, you don=B9t want to
suddenly let up on the pedal. The timbral change is too great. So you
gradually let up on the pedal. Which is why any =B3surprises=B2 between fully
depressed and back to tre corde are, shall we say, to be avoided.
Regards,
Fred Sturm
University of New Mexico


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